ARTIE SMAWS JALT TECHNIC BOOK ONE, SCALES AND EXERCISES By ARTIE SHAW Whole Tones .....ssssescsseseereeseereres saveeeareed, Whole Tone Exercises .......... sd neeeeeesensseeneeas 5 Throat Tones Studies... 8 Slurred Semitones In Various Intervals ........s004+4610 Arpeggios and Rhythmic Figures ......scsssseeeeseseeel Arpeggios in Minor Thirds ......ssssssessessensesesens 19 Combination Arpeqgios, Scales and Etudes .. High Note Fingerings ....ccssecseeceeseeereneeennees a Sample Page from Concerto for Clarinet .......2+05 eee book a i Unauthorized uses are an infringement of U.S. Copyright Act and are punishable by Law.WHOLE TONES ‘A whole tone scale is one having a full step between each progression. There are actually only two whole tone scales: No. 1 beginning on C or any note an even number of half steps higher or lower. No. 2. beginning on Cf or any note an even number of half steps higher or lower. The augmented Sth chord is closely connected with the whole tone scale, due to the fact that the notes of the augmented chord are spaced two full tones apart all of the way through the closed positions. In modern dance playing and improvising, it is bad taste to use complete whole tone scales for phrases, However, many of the modern passages are based on the augmented fifth chord. The following studies were designed to accustom the fingers and ear to these unusual progressions. These studies should be included in your daily routine of practice, along with the major, minor, and chro- matic scale exercises. 1 =WHOLE TONE EXERCISES See page 2 for various forts of articulationTHROAT TONE STUDIES These studies were not written with the idea of being “things of beauty.” They are strictly mechanical “finger breakers" designed t0 improve the technique and sight-reading power of the layer. The notes from =f= to arranged in unusual forms and variations will present some play = iB PI of the most difficult fingering problems on the clarinet. Practice these studies slowly and evenly. Due to the unmelodie sound, do not try to'memorize any of these passages. Study them for the strict purpose for which they were intended, and the re- sults will be gratifying. (Various articulations can be used.) —SLURRED SEMITONES IN VARIOUS INTERVALS. The following exercises are based on various inversions and forms of the half step interval or semitone. In playing these studies, strive for uniformity of tone and smoothness of rhythm. Consider each half step a minute part of the chromatic scale and strive to play these passages with the same smooth liquid flowing style. be bentSee eee ea af hy f2 ARPEGGIOS AND RHYTHMIC FIGURES TO BE PLAYED IN S7RICT RHYTHM I consider the following studies the most valuable studies ever written to accustom the player to the modern jazz idiom of playing. ‘The first four bars of each study is made up of arpeggios run- ning in turn through all the major and minor, keys. The second part consists of from four to eight bats of a rhythmic melodic figure in the same key as the preceding four bars. By joining together these arpeggios and figures and playing the whole study in strict rhythm, chese studies will develop unusual fingering facility. ‘They will also train the ear to modern rhythmic figures based on chords in every key both major and minor. Do not attempt to play these fast until you have mastered them. C Major Repeat each exercise at leas 5 times before proceeding to next key. >Bb Major # oes i==2 == Se pee SS RoR SS ett oo G MinorF Minor E Se Db Major WN15 Bb Minor Eb Minor ee Se legato tongue _ " =Gt Minor E Major pee pee eee > ow a gis Sees eo re ite I a =~ tle piceieate = zie f= et a & SSS Veadg Cf Minor Soft tongueF# Minor B Minor18 A Minor19 ARPEGGIOS IN MINOR THIRDS The interval of the minor third is used in forming the diminished chord. There are thrce dis- (1) starting on Cs (2) starting on Cs (3) starting on D. All other tinct forms of this cho: diminished chords are inversions of the above. The following studies are included for the pucpose of facilitating a smoother, faster transition from register to register. It will be noticed chat many awkward problems in fingering are presented in ‘these studies. When practicing them, strive for a full round tone, taking care that the extremely high register does not become shrill and harsh. As these studies arc to be played in strict tempo, they should not be started.at a fast tempo as che groups of sixteenths will present a stumbling block in legate phrasing. Naturally the speed should be increased as the student progresses. Moderato= SSS <== f= baie * SS = ro2 "See page 27 for high note fingerings25 COMBINATION Ree SCALES AND ETUDES No. A general summarization of all preceding material will be found in the following ctudes. They are based on scales, arpeggios, and intervals of the third, fourth, fifth and sixth. These exercises should be played smoothly with the thought of keeping chem in a flowing style. If concientious study has been given to the earlier pages of this book, these studies should present no new problems to the student, but should help to organize what he has been studying. Fast TaeWe fis oy ee 2 pees iso (hi ————— 2 ‘ ; Ss J z 3b, J. z bod 2 z b =—— 5, FS #727 HIGH NOTE FINGERINGS (BOEHM SYSTEM) Used and recommended by Artie Stee to 2 tea 2 fae 2 F Fe Cc a a A “MB B c © Middle oGtkey 2GF ke) (2) Gtkey optional options ° oe . . . 20 : 8 ° ° 20 8 } 86h * Gtiey ° ° ° . ° ° . RHO 8 2 0 Morey to ° : ° ° ° O° Ey 0 ° ° ° Dékey optional) (Dt key, DH key DA key Dt key Di key DB key Dé Key optional) D¥ Key(optional) e (No.2 recommended {on some clarinets tones from A to C respond tasier with {or fast passages only) right hand C¥ key open instead of D¥ key) The lett thumb hole is closed and the octave key opened on all these fingerings. (0 indicates finger off key or ring: @ indicates finger in depressed position.) The above chart is simplified to show only the keys necessary to produce the high tones.28 The Artie Shaw Clarinet Concerto is available for sate from your local music store. CONCERTO FOR CLARINET NOTE: wou adit fo both ss! ac conto be heeughy onl wih he record vein ‘ot ni compostion fot he bes perfonronce ess. e roles heron 8. bee, no move than tly detaled gud Solo Bb Clarinet (ast Page) By ARTIE SHAW _ © Cony © 1941, 192 Renee 56,170 MILLS MUSIC. INC odie Print Rights Admisistred by WARNER BROS, PUBLICATIONS INC. ban, FL 23014 Tnerational Copyright Secured Made inUS.A. All Righis Resened